{"id":4007,"date":"2014-12-07T10:42:06","date_gmt":"2014-12-07T15:42:06","guid":{"rendered":"http:\/\/blogs.dickinson.edu\/glossen\/?page_id=4007"},"modified":"2022-09-07T16:24:27","modified_gmt":"2022-09-07T20:24:27","slug":"neil-h-donahue","status":"publish","type":"page","link":"https:\/\/blogs.dickinson.edu\/glossen\/archive\/most-recent-issue-glossen-392014\/neil-h-donahue\/","title":{"rendered":"Neil H. Donahue"},"content":{"rendered":"

The Political Pathology of Amnesia in Postwar Germany: \u00a0Tilman Jens\u2019 Demenz: Abschied von meinem Vater<\/em> (2009)<\/strong><\/p>\n

When Tilman Jens in 2009 published a short, probing memoir, full of sadness and anger, about his famous father Walter Jens, the book critic for Die Zeit<\/em>, Iris Radisch, declared her \u201cFassungsloses Staunen\u201d and pleaded at the outset of her review: \u201cWarum sch\u00fctzt den Vater niemand vor seinem Sohn?\u201d She then assumed that role of defender in her own denunciation of what she described as Tilman Jens\u2019s denunciation of his sick, ailing father, which takes the form for her of a stylized \u201cD\u00e4monisierung der Demenz,\u201d turning the father\u2019s illness into a political metaphor. She dismisses the work Demenz: Abschied von meinem Vater<\/em> as a lamentable instance of filial \u201cDenkmalsturz\u201d that does not even belong in the ranks of other more noteworthy milestones in the post-1968 period of agonistic Auseinandersetzung<\/em> with the father and the Nazi past, for which subgenre Christoph Meckel\u2019s Suchbild: \u00dcber meinen Vater<\/em> (1980) has served as the prototype.1<\/sup> \u00a0\u2028\u00a0In a sort of warped parallel to a more recent work in that subgenre, Lars Brandt\u2019s Andenken <\/em>(2006), Radisch\u2019s describes Tilman Jens\u2019s work simply as a pathetic attempt to diminish the public figure of his father and thereby win him back after the fact as a daddy who should have shared more fully the childhood details of domestic daily life, –presumably instead of reading, writing, teaching, lecturing, and presenting himself in public (she oddly uses the word \u201czur\u00fcckerobert,\u201d with the intonations of invasion and conquest that resonate so darkly in German history). In sum, she condemns Tilman\u2019s \u201cehrlose Entbl\u00f6\u03b2ung seines wehrlosen Vaters mit pseudopolitischen Girlanden.\u201d<\/p>\n

But Walter Jens was the consummate public intellectual of his time. Though his myriad activities may well have cut into his private time with his family, Radisch, in her indignation, misses the point of Tilman Jens\u2019s necessary attempt to clarify his father\u2019s actions and inactions in light of revelations about his past in the Nazi period and their relation to the principles he had always declared and defended vigorously, vehemently and often, both in public and in private over decades. In his multifarious activities as professor of rhetoric, as classical philologist and translator, as literary critic, novelist, dramatist, enthusiastic debater, outspoken critic and public commentator in\u00a0 news media (newspaper, TV, radio) on matters from theology to soccer (both sources of devotion, inspiration and sometimes fanaticism), and also in his role as cultural diplomat in German literary-political affairs (head of German PEN after reunification), Walter Jens embodied more fully and broadly than any other single person in the postwar period the principles of the Gruppe 47<\/em> that he had belonged to, and of the traditions of the Enlightenment that he venerated and espoused, as public citizen. He was an energetic member of the Gruppe 47<\/em> that reestablished a literary community after the Second World War based on explicit principles of candor and commitment to an open society and a literature that reflected that openness, rather than its opposite of abject obedience to state ideology or abstruse evasiveness (as in the literature of Inner Emigration; see Donahue\/Kirchner, Flight of Fantasy<\/em>). His response to the recent past of Nazi totalitarianism as a warning for the future emerged first in his postwar novel Nein: Die Welt der Angeklagten<\/em> (1948), which presented a dystopian vision of a society with its ideological machinery of systematic persecution, based both on both George Orwell\u2019s 1984<\/em> as well as on the (at the time) not yet canonical work of Franz Kafka. His history of literary modernism Statt einer Literaturgeschichte<\/em> recovered the traditions of German and European modernism, so long suppressed, as sources of critical inspiration for both readers and writers in the postwar period. \u00a0\u2028\u00a0Like other books in the post-68 tradition of V\u00e4terliteratur<\/em>, such as Bernhard Vesper\u2019s Die Reise<\/em> (1977), Meckel\u2019s Suchbild<\/em> (1980), and Niklas Frank\u2019s Der Vater: Eine Abrechnung<\/em> (1987), or even Meckel\u2019s second contribution to the genre with his counterpart Suchbild: Meine Mutter<\/em> (2002), Wibke Bruns\u2019 Meines Vaters Land<\/em> (2004), Ulla Hahn\u2019s Unscharfe Bilder<\/em> (2005) and Ute Scheub\u2019s Das Falsche Leben Eine<\/em> Vatersuche<\/em> (2006), to name but a few, Tilman\u2019s Demenz<\/em> conflates the personal and the public, the private and the historical, –though he does so consciously and deliberately in order to measure the former, the personal, against the latter, the public-historical, as his father had always advocated and done, — until the moment in question. The book centers upon the moment in 2003 when it became public for the first time that Walter Jens had once joined and belonged to the Nazi Party in 1942, which fact would be noted in the new Germanisten-Lexikon<\/em>, then in preparation. Rather than to acknowledge and explain, his father denies, equivocates and evades, claiming not to remember, before eventually conceding that he may have signed some scrap of paper (einen Wisch<\/em>) at some point. His father had spent his career presenting himself as a \u201cGed\u00e4chtnis-Virtuose\u201d (58), as a \u201cGed\u00e4chtnisk\u00fcnstler\u201d (14) whose \u201ceinst so ph\u00e4nomenale Ged\u00e4chtnis\u201d (13) could summon up details from childhood or long passages of literary texts for declamation, as I once myself heard him do, reciting a long passage of poetry he had heard that morning at a Rigorosum<\/em> at the Mittagstisch in his home before his Assistenten <\/em>at the time, who was apparently a regular guest, myself – a visiting graduate student working on a dissertation, his wife Inge and the Swabian Putzfrau.2<\/sup> His extraordinary memory and public principles of confrontation for the sake of clarity now capitulate before the recognition of his own selective memory gap, which he shared with so many others in the postwar period that he had helped to define and whose attempts at Vergangenheitsbew\u00e4ltigung<\/em> he encouraged and whose failings in that regard he castigated. Instead, at various points of autobiographical reflection, his past was, like so many others, stylized into an antifascist posture of inner antipathy toward the regime, sympathy for its victims and the good fortune in this one regard of asthmatic disqualification for military activity.\u00a0\u2028\u00a0What Walter Jens failed to remember or confront in his own past, and chose to elide in his self-presentation, was not only his Party membership (as of September 1, 1942; No. the 9265911), which must have signaled at least some momentary need, desire or willingness to comply, since membership was not casual or automatic, but also an article entitled \u201cDie Epik der Gegenwart: Betrachtung unserer gegenw\u00e4rtigen Dichtkunst\u201d (April 1943) in a student newspaper or newsletter of a group called Kameradschaft Hermann von Wissmann<\/em> (named after the Reichskommissar<\/em> of German East-Africa [Tanzania]), in which a young W. Jens praises Erwin Guido Kolbenheyer and advocates a \u201cHinwendung zum ewigen Deutschtum\u201d and a \u201cstarke Bindung an das Volk\u201d in opposition to \u201cEntartungsliteratur.\u201d He even intones there, according to his son\u2019s excerpts, that \u201cOhne ein tiefes Bekenntnis zum V\u00f6lkischen ist Dichtung unm\u00f6glich.\u201d Though membership in the Party cannot be dismissed as a passive circumstance, the article, even as juvenilia, shows voluntary, outspoken advocacy of Nazi doctrine, whereby he even condemns such figures as Thomas Mann and Alfred D\u00f6blin, whose works he did so much after the war to elevate and celebrate, as in his influential Statt einer Literaturgeschichte<\/em> (1957).<\/p>\n

In the wake of the first revelation of the Lexikon<\/em>, the article from his student days was found by chance in a private archive and sent to the author; one could still wonder if others exist. Son and journalist Tilman confronts and contextualizes the contradictions that his father both tried to evade and ended up multiplying as he sought to explain and equivocate in ways that he had always excoriated in others. His father\u2019s hypocrisy appeared strikingly at odds with his civil courage and integrity in public and private life in the postwar period. In trying to separate himself at age 80 from a Nazi past that has come back to haunt him, \u201cfl\u00fcchtet mein aufrechter Vater\u201d notes Tilman \u201cin ein ach-so-deutsches Doppelleben\u201d (71).\u00a0 Tilman does, as son and as journalist, what his father had taught him to do and follows his example by examining the contexts and putting to question the possibilities of explanation, even creating opportunities for explanation, both public and private, which only lead however to further prevarications and retractions: \u201cEr macht dicht, er beginnt sich einzumauern, er will sein Ged\u00e4chtnis nicht mehr strapazieren\u201d (78). With that refusal, Walter Jens enters, for son Tilman, into the ranks of so many others from G\u00fcnter Grass to Siegfried Lenz to Hans-Dieter Genscher from the same generation that either refused to address or tried to hide or elide their involvement or Party membership: he cites the volume Jahrgang 1926\/27<\/em> by Alfred Neven Dumont to expand his father\u2019s symptomology into a collective historical amnesia or dementia shared by so many: \u201cdie Symptome politischer Demenz\u201d (87), as I had done in a more limited fashion in my study Karl Krolow and the Poetics of Amnesia<\/em> (Camden House, 2002), in which I interpreted that poet\u2019s long and prolific career as poet and commentator in relation to, for the first time, his writings before 1945 and information (with transcripts) that I found (in Hannover at the Nieders\u00e4chsisches Staatsarchiv) in the file from his denazification hearings, which I was the first person to sign out and read since it was filed in 1947 (not surprisingly, since no one had looked, no single reference to those hearings or to his Party membership appeared in any prior secondary literature or personal information on Krolow). Such knowledge inevitably changes how we read and understand his later works. Karl Krolow remained, however, decidedly and consistently apolitical and opportunistic before the war and after, pursuing his career as a poet (though the context had changed dramatically), whereby Walter Jens, to his credit, had stepped into the public realm and taken others to task with self-righteous outrage. Tilman Jens notes of his father\u2019s Gruppe 47 generation that the public fight against the legacy of fascism and for the right of expression in a new democratic state was \u201cder Leim, der eine ganze Generation von Dichtern und Denkern zusammenhielt . . . Die unbequemen, bohrenden Fragen wurden der Gesellschaft gestellt, nicht aber sich selbst\u201d (90). He employs the metaphor of illness for the localized failure to remember and acknowledge one\u2019s own entanglement in Nazi ideology,3<\/sup> but in the case of his father, it\u2019s not just a metaphor.<\/p>\n

Along with the revelations of his Nazi past, Walter Jens also begins to suffer at the same time from Alzheimer\u2019s; the trajectory of his Vergangenheitsbew\u00e4ltigung<\/em> converges in dramatic fashion with the onset of his illness: two pathologies coincide, leading to what Tilman calls \u201cgn\u00e4diges Vergessen\u201d (123), suggesting that in this case the clinical pathology provided his father with a parallel resolution to what Helmut Kohl memorably called \u201cdie Gnade der sp\u00e4ten Geburt\u201d or a circumstance that relieves one of culpability or in this case at least, consciousness thereof.\u00a0 Contrary to Radisch\u2019s blistering condemnation of Tilman Jens\u2019s use (\u201cso abwegig\u201d) of the trope of dementia, his book does not conflate or confuse the two, much less suggest that the one causes the other. Rather he notes simply and sadly how the physical pathology, clinical amnesia, translated the metaphor that characterizes many of his father\u2019s generation into a harsh reality in his individual case; he notes how the prospect of such a debility had horrified a man who otherwise committed his postwar life to a community of open, continuous discourse and exchange of ideas, and who could not and did not wish to imagine, much less experience, an \u201cEntm\u00fcndigung\u201d contrary to all his Enlightenment ideals; and he notes how the revelations of his father\u2019s Nazi past seemed to undermine his will to fight against the symptoms and reinforced his sense of increasing distance and isolation. Tilman Jens examines these two matters about his father in banal, sometimes sordid and unadorned detail that would seem to some readers (and critics) rather too painful, indelicate, unsentimental and unwelcome, but that in fact fulfill his father\u2019s spirit of clarity and confrontation, as he himself would not and then could not do in this painfully personal instance. Tilman Jens\u2019s candid account punctures two taboos at once in talking frankly about the Nazi complicity of a parent, and also, -what is far more common-, the mental disintegration of a parent, his once so lucid father. Yet another consideration, which Radisch ignores entirely, also informs the narrative.<\/p>\n

Tilman\u2019s examination of the circumstances of his father\u2019s converging amnesias also describes the other side of the equation: the difficult circumstances of continual care for the spouse: \u201cEr zuckt mit den Schultern, die grau-blauen Augen fixieren nichts mehr, sie schauen ins Leere. Manchmal aber wird er w\u00fctend, presst eine schmerzverzerrte Grimasse ins schmal gewordene Gesicht. Er ballt die F\u00e4uste, noch einmal ein Aufb\u00e4uman der Vitalit\u00e4t. Er schreit, haut und spuckt um sich. Die Verzweiflung mobilisiert ungeahnte Kr\u00e4fte. Wenn er trifft, hat meine Mutter am n\u00e4chsten Morgen blaue Flecken. Mit \u00fcber 80 ist auch sie eine Frau, die geschlagen wird. H\u00e4usliche Gewalt steht am Ende dieser Vorzeige-Ehe\u201d (10). Tilman also tells the story of his mother Inge Jens and dedicates the book to her, who had always managed to maintain her own career as scholar and editor (\u201ceine in ihrer Eigenst\u00e4ndigkeit selbstbewusste und souver\u00e4ne Frau\u201d 24) with important studies of Expressionist prose, of the Prussian Academy of Arts during the Weimar Republic, of Katia Mann, and of Katia\u2019s mother, and with her invaluable editions of Thomas Mann\u2019s correspondence, despite the overwhelming public brilliance, influence, authority and recognition of her husband. Even in his waning months, overcome with depression and medications, reluctant to speak in public, he calls on his wife to fill in for him at times on public occasions, but then manages in the end: \u201cMeine Mutter wei\u03b2 nicht, ob sie lachen oder weinen soll. Er schafft sich durch den Text, kaum ein Versprecher, die bew\u00e4hrte Droge Publikum zeigt Wirkung. Aber wer von denen, die ihn hier erleben, [\u2026], scheinbar souver\u00e4n, . . . wird sich vorstellen k\u00f6nnen, was sie durchmacht, wenn keine bewundernde Zuh\u00f6rerschaft zugegen ist. Wie haben sich daheim, . . . die Wut- und Verzweiflungsausbr\u00fcche geh\u00e4uft\u201d (36). Yet she continues her own career as best she can, refusing to be eclipsed by his illness any more than earlier by his fame, despite his mounting claims on her attention, and his skepticism and jealousy about her projects: \u201cMeine Mutter schreibt allein. Nicht nur ohne ihn, sondern letztlich auch gegen ihn. So jedenfalls muss er es empfinden. Sie macht die T\u00fcr ihres Arbeitszimmers hinter sich zu. [. . .] Er muss zum ersten Mal in seinem Leben gehorchen, sich, fast 82j\u00e4hrig, in eine ungewohnte und schmerzhafte Rolle f\u00fcgen\u201d (38). Even his doctors recommend to her that she drop her projects: \u201cDie Umverteilung der Rollen, die Degradierung meines Vaters zum Zuschauer eines Schaffensprozesses, werde die Aussicht auf Heilung ernsthaft tr\u00fcben. [. . .] Inge Jens aber ist Frau Walter Jens zu diesem Zeitpunkt schon \u00fcber den Kopf gewachsen. Sie bleibt eisern und macht das, was mein Vater in vergleichbarer Situation auch getan h\u00e4tte: Sie schreibt weiter. [\u2026] Jetzt ist es sie<\/em>, die beim Schreiben durchatmet\u201d (39). Tilman also tells the story, in the microcosm of his own parental home, of the changing roles, the gender dynamics, in the highest levels of German Bildungsb\u00fcrgertum<\/em>, and of his mother\u2019s quietly heroic refusal to surrender her own identity as an intellectual and writer to her husband, whether healthy or ill, while also accepting with full support his multifarious activities, his fame and then his illness. In the same year as Demenz<\/em>, Inge Jens published her own memoirs Unvollst\u00e4ndige Erinnerungen<\/em> (Rowohlt, 2009), which became a Spiegel-Bestseller, where she confronts her own past and feels obliged \u201cdie Strukturen meiner Lebensf\u00fchrung zu \u00fcberdenken\u201d (10); suddenly with her husband no longer present as a partner, her position has changed: \u201cDie unerwartete Gegenwart hat mich [\u2026] veranlasst zur\u00fcckzublicken,und ich habe mit Erstaunen bemerkt, dass dieses Zur\u00fcckblicken Kr\u00e4fte freisetzt, die mir auch einen neuen, anderen, freieren Umgang mit dem Hier und Jetzt erm\u00f6glichen\u201d (11-12). On its own or in conjunction with his mother\u2019s book, Demenz<\/em> tells the story of their combined coming-to-terms with both the revelations of the father\u2019s past, a secret withheld from both spouse and child, and the demands of his protracted illness, – rather more hands-on Denkmalpflege<\/em> than melodramatic Denkmalsturz<\/em>, to return to the complaint by Iris Radisch, who omits this aspect of the work. Though the book necessarily and insightfully centers upon the father and the circumstances of his two amnesias, it also describes the secondary effects of those circumstances on the lives of others, – of what happens, the emotional and physical disruption and distress, caused by the loss of memory of both kinds. Demenz<\/em> appears, directly for the author and indirectly for his mother, as a work of profound and necessary Gegenwartsbew\u00e4ltigung<\/em>.4<\/sup><\/p>\n

Bibliography<\/strong><\/p>\n

Brandt, Lars. Andenken<\/em>. M\u00fcnchen: Hanser, 2006.<\/p>\n

Donahue, Neil H. Forms of Disruption: Abstraction in Modern German Prose<\/em>. Ann Arbor: University of Michigan, 1993.<\/p>\n

Dumont, Alfred Neven, ed. Jahrgang 1926\/27: Erinnerungen an die Jahre unter dem Hakenkreuz<\/em>. Cologne: Dumont, 2007.<\/p>\n

—-. Karl Krolow and the Poetics of Amnesia in Postwar Germany<\/em>. Rochester, NY: Camden House \/ Boydell & Brewer, 2002.<\/p>\n

\u201cSuchbilder: Looking for Christoph Meckel.\u201d In: Aesthetics and Politics in Modern German Culture: Festschrift in Honour of Rhys W. Williams<\/em>. 103-115. Eds. Brigid Haines, Stephen Parker, Colin Riordan. Bern: Peter Lang, 2010.<\/p>\n

—-, and Doris Kirchner. Flight of Fantasy: New Perspectives on Inner Emigration in German Literature, 1933-1945<\/em>. New York and London: Berghahn, 2005.<\/p>\n

Jens, Inge. Unvollst\u00e4ndige Erinnerungen<\/em>. Reinbek bei Hamburg: Rowohlt, 2009.<\/p>\n

Jens, Tilman. Demenz. Abschied von meinem Vater<\/em>. G\u00fctersloh: G\u00fctersloher Verlagshaus, 2009.<\/p>\n

—-. VATERmord: Wider einen Generalverdacht<\/em>. G\u00fctersloh: G\u00fctersloher Verlagshaus, 2010.<\/p>\n

Jens, Walter.—-. Nein. Die Welt der Angeklagten<\/em>. Hamburg: Rowohlt, 1950. Reissued with modifications: Knaur, 1968.<\/p>\n

—-. Statt einer Literaturgeschichte<\/em>. Pf\u00fcllingen: Verlag G\u00fcnther Neske, 1958.<\/p>\n

Iris Radisch. \u201cDer Mann seines Lebens: Tilman Jens verkl\u00e4rt und denunziert seinen an Demenz erkranten wehrlosen Vater Walter Jens.\u201d Die Zeit<\/em> 9 (February 19, 2009).<\/p>\n

Endnoten<\/strong><\/p>\n

1<\/sup> For a discussion of that text and its influence on the recent wave of confrontational texts, including Meckel\u2019s parallel piece describing his mother, see my article \u201cSuchbilder<\/em>: Looking for Christoph Meckel.\u201d<\/p>\n

 <\/p>\n

2<\/sup> I had been invited by Inge Jens, while on my Fulbright year in T\u00fcbingen, where I was doing research (1983-85) with the sponsorship and guidance of Professor Richard Brinkmann on the topic of Expressionist prose and its relation to the Modernist canon (which later appeared as Forms of Disruption: Abstraction in Modern German Prose<\/em>). Inge Jens had written her dissertation on Expressionist prose, which at the time remained unpublished but which I could access in T\u00fcbingen and in Marbach National Literature Archive, where I spent much time. Professor Brinkmann suggested that I contact her directly, which I did, whereupon she graciously invited me to the midday meal to also meet her husband, who energetically welcomed me into their home and the conversation with a remarkable and highly unusual (compared to general relations between professors and students) animation and lack of formality, which I greatly appreciated. Inge Jens regaled me with stories of how their best man Ernst Rowohlt, the publisher, had provided her with his own copies of pertinent works that at that time, not so long after the war, were still not readily available. Her study was thus, with distance, the first postwar attempt to systematically address the topic, as I indicate in my epilogue to Forms of Disruption<\/em> entitled \u201cHonorable Menschen<\/em>\u201d (229-237). For the record, I have had no contact with her since that time. My own brief personal connection to her, Walter and T\u00fcbingen at that time is perhaps not irrelevant (and enhanced my curiosity about this issue), but remains nonetheless tangential to my larger, well-documented interest in the literary history of the postwar period in Germany.<\/p>\n

 <\/p>\n

3<\/sup>Also known of course as Waldheimer\u2019s disease, after Kurt Waldheim, the Austrian Secretary-General from 1972-1981, who was elected President of Austria in 1986, but who selectively forgot to mention his service in the Wehrmacht under the Nazis until 1945)<\/p>\n

 <\/p>\n

4<\/sup> One year later, in 2010, Tilman Jens published his Vatermord: Gegen einen Generalverdacht<\/em> to respond to Radisch and other critics (turning back to the \u201cSchauprozess um mein Buch\u201d 110) by reviewing that motif in literary and cultural history and differentiating his own work in Demenz<\/em>, where he also had tried, very laudably in my view, to break \u201cdas Tabu der Demenz und der leider sehr konkreten Ver\u00e4nderungen, die das Leiden mit sich bringt\u201d (114-115). He also reinforces his narrative with citations from scientific research in cognitive psychology on the pathology of senile dementia, and clarifies more precisely the chronology of his father\u2019s decline in relation to the revelations about his NSDAP past (see 132) as well as his own relations to his father. Though useful in general, and apparently necessary as a response to his many critics, the often expansive contextualization he provides there as addendum does not have, understandably, the dramatic force and urgency of his original account.<\/p>\n","protected":false},"excerpt":{"rendered":"

The Political Pathology of Amnesia in Postwar Germany: \u00a0Tilman Jens\u2019 Demenz: Abschied von meinem Vater (2009) When Tilman Jens in 2009 published a short, probing memoir, full of sadness and anger, about his famous father Walter Jens, the book critic for Die Zeit, Iris Radisch, declared her \u201cFassungsloses Staunen\u201d and pleaded at the outset of […]<\/p>\n","protected":false},"author":394,"featured_media":0,"parent":3907,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-4007","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/blogs.dickinson.edu\/glossen\/wp-json\/wp\/v2\/pages\/4007","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.dickinson.edu\/glossen\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/blogs.dickinson.edu\/glossen\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.dickinson.edu\/glossen\/wp-json\/wp\/v2\/users\/394"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.dickinson.edu\/glossen\/wp-json\/wp\/v2\/comments?post=4007"}],"version-history":[{"count":0,"href":"https:\/\/blogs.dickinson.edu\/glossen\/wp-json\/wp\/v2\/pages\/4007\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/blogs.dickinson.edu\/glossen\/wp-json\/wp\/v2\/pages\/3907"}],"wp:attachment":[{"href":"https:\/\/blogs.dickinson.edu\/glossen\/wp-json\/wp\/v2\/media?parent=4007"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}